Brainstorming, the quintessential tool for idea generation, often yields a predictable harvest. We pluck the low-hanging fruit, rearrange existing concepts, and occasionally stumble upon something genuinely novel. But what if there was a method, a systematic approach, to transcend these limitations? What if we could reliably ignite sparks of innovation, not just wait for them to flicker into existence?
Enter TRIZ – the Theory of Inventive Problem Solving. Developed by Genrich Altshuller, a Soviet engineer, TRIZ isn’t just another creativity technique; it’s a profound framework rooted in the analysis of millions of patents. It posits that inventive solutions aren’t random flashes of genius but rather emerge from a finite set of recurring patterns and principles. For writers, whose craft demands constant invention – be it plot points, character arcs, world-building, or even marketing angles – TRIZ offers an unparalleled toolkit to inject genuine inventiveness into their brainstorming sessions.
Imagine transforming your brainstorming from a free-association exercise into a targeted exploration of established inventive principles. This guide will meticulously dismantle the core components of TRIZ and demonstrate, with concrete examples tailored for writers, how to integrate them seamlessly into your brainstorming process, leading to solutions that are not merely different, but genuinely brilliant.
Understanding the Foundation: Beyond Randomness
Before we dive into actionable steps, grasping the core philosophy of TRIZ is crucial. Altshuller discovered that problems, regardless of their domain, often share similar characteristics and are frequently solved by similar inventive principles. This means the solution to a complex plot deadlock might share underlying patterns with, say, a manufacturing defect. This counter-intuitive idea is the bedrock of TRIZ.
Instead of endlessly trying to force a solution, TRIZ directs us to identify the inherent contradictions within our problem. Contradictions are the friction points, the “damned if you do, damned if you don’t” scenarios that often stifle creativity. Once identified, TRIZ offers a range of tools to systematically resolve these contradictions, leading to non-obvious, powerful solutions.
This isn’t about applying a rigid formula, but rather using a sophisticated lens to analyze problems and then applying proven inventive strategies. For writers, this translates into a powerful mechanism for overcoming writer’s block, developing unique story elements, and crafting compelling narratives that resonate deeply with readers.
Identifying Your “Inventive Problem” for Writing
The first step in applying TRIZ is to clearly define the problem you’re trying to solve. In writing, this isn’t always a technical malfunction. It could be a vague feeling of “this story isn’t working,” a specific plot hole, a character that feels flat, or a marketing challenge.
Actionable Steps:
- Pinpoint the Specificity: Avoid vague statements like “my story needs to be better.” Instead, pinpoint: “My protagonist needs a compelling motivation that doesn’t feel cliché,” or “I need a unique way to introduce magic into a modern setting without it feeling gimmicky,” or “How can I make my antagonist truly terrifying without resorting to gratuitous violence?”
- Frame it as a Core Conflict/Contradiction: Once specific, try to frame your problem as a core conflict or a contradiction.
- Example (Plot): “I want my detective to solve the crime quickly (efficient pacing) but also show deep, meticulous investigation (realistic portrayal).”
- Example (Character): “My villain needs to be irredeemable for the plot to work (clear stakes) but also possess a relatable quality that garners audience empathy (complex characterization).”
- Example (World Building): “My futuristic society needs advanced technology (innovation) but also maintain a sense of primal human struggle (relatability).”
This initial framing is critical. It shifts your mindset from “what ideas can I generate?” to “what contradictions exist, and how can I resolve them?”
The Contradiction Matrix: Your Guide to Inventive Principles
The Contradiction Matrix is the beating heart of TRIZ. Altshuller identified 39 “Standard Features” (parameters) that often conflict in inventive problems. When you identify a contradiction between two of these parameters, the matrix directs you to a subset of 40 “Inventive Principles” that have historically been used to resolve similar contradictions.
For writers, the key is to translate writing challenges into these “Standard Features.” While the original features are engineering-focused, their underlying concepts are universal. We can adapt them for narrative purposes.
Adapting the 39 Parameters for Writers: (A partial list with examples relevant to writing)
- Weight of Stationary Object: The baggage a character carries (physical or emotional); the density of exposition.
- Writing translation: “Information Density,” “Character Burden.”
- Weight of Moving Object: Pacing of a scene/story; the momentum of a sub-plot.
- Writing translation: “Pacing (Scene/Chapter),” “Plot Momentum.”
- Length of Stationary Object: The duration of a flashback; the scope of a setting description.
- Writing translation: “Description Detail,” “Flashback Duration.”
- Length of Moving Object: A journey’s duration; the length of a dialogue.
- Writing translation: “Dialogue Length,” “Narrative Arc Span.”
- Area of Stationary Object: The limited scope of a setting; the confined focus of a theme.
- Writing translation: “Setting Scope,” “Thematic Focus.”
- Area of Moving Object: The spread of a rumor; the influence of a character.
- Writing translation: “Influence Radius (Character/Plot),” “Information Dissemination.”
- Volume of Stationary Object: The amount of world-building lore; the depth of a character’s internal monologue.
- Writing translation: “Lore Depth,” “Internal Monologue Volume.”
- Volume of Moving Object: The flow of information; the spread of an idea.
- Writing translation: “Information Flow,” “Concept Reach.”
- Speed: Speed of plot progression; rate of character development.
- Writing translation: “Pacing (Overall),” “Development Speed.”
- Force: Impact of a twist; the power of a character’s decision.
- Writing translation: “Narrative Impact,” “Character Agency.”
- Stremngth: Resilience of a theme; durability of a character’s conviction.
- Writing translation: “Thematic Robustness,” “Character Conviction.”
- Stability: Consistency of a character’s personality; predictability of a plot; coherence of a magical system.
- Writing translation: “Character Consistency,” “Plot Predictability,” “System Coherence.”
- Accuracy of Measurement: Precision of a clue; clarity of a character’s objective.
- Writing translation: “Clue Precision,” “Clarity of Goal.”
- Reliability: Trustworthiness of a narrator; consistency of a world’s rules.
- Writing translation: “Narrator Reliability,” “World Rule Consistency.”
- Harmful Factors Acting on Object: External threats; internal flaws; plot obstacles.
- Writing translation: “External Obstacles,” “Internal Flaws.”
- Temperature: Emotional intensity of a scene; mood of a setting.
- Writing translation: “Emotional Temperature,” “Atmosphere.”
- Energy Utilized by Object: Reader’s mental effort; character’s emotional expenditure.
- Writing translation: “Reader Engagement Effort,” “Character Exhaustion.”
- Loss of Energy: Plot holes; reader confusion; wasted scenes.
- Writing translation: “Narrative Inefficiency,” “Reader Confusion.”
- Shape: The structure of a narrative; the form of a magical artifact.
- Writing translation: “Narrative Structure,” “Object Form.”
- Duration of Action: Length of a conflict; time a character spends on a task.
- Writing translation: “Conflict Duration,” “Task Time.”
- Complexity of Control: The intricacy of a conspiracy; the layers of a character’s deceit.
- Writing translation: “Plot Complexity,” “Character Deceit Layers.”
- Difficulty of Manufacture/Assembly: Complexity of world-building; effort to create a compelling backstory.
- Writing translation: “World-Building Effort,” “Backstory Complexity.”
- Ease of Operation: Reader accessibility of a concept; fluidity of dialogue.
- Writing translation: “Reader Accessibility,” “Dialogue Fluidity.”
- Universality: Broad appeal of a theme; applicability of a character’s lesson.
- Writing translation: “Thematic Universality,” “Moral Applicability.”
- Loss of Information: Secrets kept from the reader; character withholding knowledge.
- Writing translation: “Information Withholding (Plot),” “Character Secrecy.”
- Adpatability/Versatility: Character’s ability to adapt; plot’s capacity for different interpretations.
- Writing translation: “Character Adaptability,” “Narrative Flexibility.”
- Functionality: Purpose of an object/character; narrative function of a subplot.
- Writing translation: “Narrative Function,” “Character Purpose.”
- Self-Service: Character autonomy; plot’s internal logic.
- Writing translation: “Character Autonomy,” “Plot Logic.”
- Production Costs: Effort/time invested in a specific scene; complexity of research required.
- Writing translation: “Creative Resource Cost,” “Research Burden.”
- Maintenance/Repair: Editing; revising previously established lore.
- Writing translation: “Revision Effort,” “Lore Retcon.”
Actionable Steps:
- Identify Your Contradiction: Revisit your framed problem. What two “Standard Features” (narrative parameters) are in conflict? You’re trying to improve one, but it worsens another.
- Example (Plot): “I want my detective to solve the crime quickly (improving ‘Speed’ – Plot Pacing) but this reduces the sense of deep, meticulous investigation (worsening ‘Completeness of Action’ or ‘Reliability’ – Investigation Thoroughness).”
- Example (Character): “I want my villain to be truly terrifying (improving ‘Harmful Factors Acting on Object’ – Antagonistic Impact) but this makes them less relatable and complex (worsening ‘Ease of Operation’ or ‘Universality’ – Character Empathy/Dimension).”
- Consult the Matrix: Find the intersection of your chosen “improving” parameter (rows) and “worsening” parameter (columns) on the Contradiction Matrix. The cells will suggest 1-4 “Inventive Principles.” These are your brainstorming prompts.
The 40 Inventive Principles: Your Creative Catalysts
Once you have your principles from the matrix, this is where the magic happens. Each principle offers a unique direction for problem-solving. Don’t just pick one; explore all the principles suggested by the matrix, as each can offer a powerful, non-obvious solution.
Here’s a breakdown of some key principles, translated and exemplified for writers:
- Segmentation: Divide an object into independent parts, or make it easy to assemble/disassemble.
- Writing Application: Instead of a single, massive reveal, segment it into multiple smaller clues or twists. Break a long, complex flashback into smaller, interspersed vignettes. Segment a single omniscient narrator into multiple limited POV characters.
- Example: Rather than having one grand, exposition-heavy scene explaining a magical system, disperse the information in small, digestible chunks through character dialogue, environmental details, and implied hints throughout the narrative.
- Extraction: Separate the “disturbing” part or property from an object, or extract only the necessary part.
- Writing Application: If a character’s backstory is too cumbersome, extract only the emotionally relevant parts. If a sub-plot is distracting, extract its core conflict and weave it into the main plot, discarding the rest.
- Example: Your protagonist’s extensive combat training is over-explaining. Extract only the brief, crucial moments where that training shaped their character or provides a key skill without detailing every sparring session.
- Local Quality: Transition from a uniform structure to a non-uniform structure; apply different conditions to different parts of the object.
- Writing Application: Instead of a consistently grim tone, introduce moments of dark humor or unexpected lightness. Have a character who is usually stoic show a rare moment of extreme emotion. Differentiate distinct areas within your world with unique rules or aesthetics.
- Example: In a dystopian novel, introduce a hidden, vibrant community with vastly different social norms and emotional outlets, contrasting sharply with the oppressive uniformity of the dominant society.
- Asymmetry: Replace a symmetrical object with an asymmetrical one; make an object asymmetrical.
- Writing Application: Introduce an unexpected character flaw into an otherwise perfect hero. Create a conflict where the opposing forces are inherently unbalanced (e.g., a child against an ancient evil). Break traditional narrative structures.
- Example: Instead of a perfectly symmetrical “hero’s journey,” have the protagonist fail at a critical junctor, resulting in a permanent physical or emotional asymmetry that forever alters their path.
- Merging: Combine homogeneous objects or operations; combine heterogeneous objects or operations.
- Writing Application: Merge two seemingly unrelated subplots into a single, cohesive narrative thread. Combine exposition with action. Fuse two distinct mythological systems to create a new one.
- Example: Merge a murder mystery with a paranormal investigation. The classic detective finds clues, but the ‘paranormal consultant’ interprets dream sequences and ghostly whispers, both pointing to the same killer but through different lenses.
- Universality: Make an object perform several functions; eliminate the need for another object.
- Writing Application: A single object serves as a plot device, a character’s treasured possession, and a symbol of a larger theme. A character serves as both mentor and unwitting antagonist.
- Example: A simple pocket watch, for example, could be a family heirloom (history), a hidden communication device (plot device), and its ticking could symbolize the protagonist’s dwindling time (theme).
- “Nested Doll”: Place one object inside another; place multiple objects inside each other.
- Writing Application: A story within a story (frame narrative). A secret society hidden within a larger, unassuming organization. A character’s deepest fear hidden beneath layers of bravado.
- Example: A protagonist discovers a secret journal, which contains another, even older, encrypted diary, which, when decoded, reveals a third coded message outlining a conspiracy.
- “Anti-Weight”/Counterweight: Compensate for the weight of an object by combining it with another object that creates a lifting force.
- Writing Application: Where there is profound sorrow, find a contrasting moment of unexpected joy. A character’s overwhelming burden is lightened by an unlikely ally. The gravity of a situation is offset by absurd humor.
- Example: A character, burdened by guilt over a past failure, finds unexpected redemption and purpose by saving someone who reminds them of the person they lost, effectively balancing the emotional weight.
- Preliminary Anti-Action: Perform a pre-emptive action to prevent potential harm.
- Writing Application: A character sets up an alibi before a crime occurs. Foreshadow character flaws before they cause major plot issues. Introduce a failsafe in a magical system.
- Example: Before embarking on a dangerous quest into the wilderness, the protagonist meticulously studies the area’s flora and fauna, not just for survival, but specifically to identify and pre-emptively harvest a rare antidote for a known local poison.
- Preliminary Action: Perform the main action before it is needed; distribute actions within the main action.
- Writing Application: Introduce plot twists or character reveals subtly, much earlier than the main moment of impact, allowing them to simmer. Lay groundwork for a later major conflict.
- Example: Instead of a massive, sudden reveal of betrayal, sprinkle small, unsettling actions and suspicious glances by the supposed ally throughout the early chapters, making the eventual betrayal impactful but not out of nowhere for the astute reader.
- “Cushion in Advance”: Prepare emergency means in advance (flexible objects, soft materials).
- Writing Application: Give a character an unexpected skill or resource they never knew they had, which becomes crucial in a crisis. Establish a support network for a character before they face a catastrophic loss.
- Example: A seemingly insignificant hobby a character has (e.g., lock-picking, obscure history) unexpectedly becomes their only means of escape or survival when all other options fail.
- Equipotentiality: Change the setting of an object so that it functions in an unchanging field.
- Writing Application: Instead of a journey across diverse landscapes, confine the story to a single, unchanging setting (e.g., a prison, a single house) to amplify internal conflict. Explore a character’s struggle against an internal rather than external force.
- Example: A character’s struggle isn’t against a villain or an external threat, but against a deep-seated phobia that paralyzes them, despite the physical environment remaining largely safe.
- “The Other Way Around”: Invert the action or the process; turn an object inside out; use an inverse solution.
- Writing Application: The hero becomes the villain, the victim becomes the aggressor. A ‘magic system’ operates by draining power rather than granting it. A prophecy that is meant to be fulfilling causes disaster.
- Example: Instead of a lone hero battling a powerful organization, the story focuses on a small, downtrodden organization trying to expose the corruption of a celebrated “hero” figure.
- Spheroidality: Replace linear parts with curved ones; use moving elements; use a spiral shape.
- Writing Application: Instead of a linear plot, use a circular narrative where the end returns to the beginning, but with changed understanding. A character’s journey spirals inward rather than outward.
- Example: A mystery isn’t solved by following a straight trail of clues, but by slowly circling back to the beginning, re-examining initial assumptions with new perspectives, building understanding in layers like a spiral.
- Dynamization: Make objects or processes adaptable and adjustable; make them mobile when stationary, or stationary when mobile.
- Writing Application: A magical artifact that changes its properties based on the wielder’s emotional state. A character who can dynamically shift their allegiances. A narrative structure that shifts perspective or tense based on plot demands.
- Example: A futuristic city isn’t static; its buildings and infrastructure can dynamically reconfigure themselves based on population shifts or resource demands, creating an ever-changing labyrinth for the characters to navigate.
- Partial or Excessive Action: Perform an action to an insufficient or excessive degree.
- Writing Application: A character who tries too hard to succeed, thereby failing. A solution to a problem that is disproportionately simple or complex. A “helpful” act that is secretly sabotaging.
- Example: A seemingly well-intentioned character provides excessive support and guidance, which, in reality, stifles the protagonist’s growth and keeps them dependent, ultimately hindering their ability to solve their own problems.
- Transition into a New Dimension: Use multi-dimensional objects; use multiple fields.
- Writing Application: Introduce parallel universes, dreamscapes, or time travel. A character who sees beyond the visible spectrum. A story told across different time periods concurrently.
- Example: A fantasy setting isn’t just one plane; characters can access a “fringe dimension” that mirrors their own but distorts emotions, causing their inner turmoil to manifest physically in that other realm.
- Mechanical Vibration: Introduce oscillations; use resonant frequencies.
- Writing Application: A repetitive, unsettling sound that foreshadows danger. A recurring symbolic image that takes on new meaning with each appearance. A rhythmic element in your prose that evokes a particular mood.
- Example: A specific, seemingly innocuous phrase or children’s rhyme heard at different, increasingly disturbing intervals throughout the story, slowly building dread and hinting at the true nature of the horror.
- Periodic Action: Apply a periodic action instead of a continuous one.
- Writing Application: A villain who only appears at specific intervals, building tension between appearances. Flashbacks that occur at precise, recurring moments in the main narrative. A plot device that requires periodic “recharging” or re-activation.
- Example: A magical curse doesn’t continuously afflict the protagonist but manifests in distinct, recurring phases, with moments of normalcy in between, heightening the psychological torment of anticipation.
- Continuity of Useful Action: Make an object operate continuously.
- Writing Application: A background element that provides constant, subtle foreshadowing. A character’s internal conflict that is always present, simmering beneath the surface. A narrative voice that maintains a consistent, pervasive tone.
- Example: The protagonist’s chronic illness isn’t a “plot point” for a single scene, but an ever-present, continuous factor that affects every decision, every movement, and every interaction, subtly shaping the entire narrative.
- Skipping: Conduct a process at high speed; skip some parts of an object.
- Writing Application: Fast-forward through mundane journey details. Omit a character’s decision-making process to heighten their impulsivity. Show the consequences of an action without detailing the action itself.
- Example: Instead of detailing a long, arduous journey, the narrative “skips” directly from the departure point to the destination, focusing only on the emotional state of the characters upon arrival and implying the hardship endured off-page.
- “Blessing in Disguise”/Turn Harm into Benefit: Use harmful factors to obtain a positive effect.
- Writing Application: A character’s greatest weakness becomes their unique strength. An antagonist’s destructive actions inadvertently help the protagonist. A disastrous event leads to unexpected opportunities.
- Example: A crippling fear of heights, which has always hampered a character, forces them to develop an ingenious ground-level strategy that ultimately outsmarts an opponent who relies solely on aerial advantage.
- Feedback: Introduce feedback to improve a process or action.
- Writing Application: A character learns from their mistakes directly. A magical object gains power based on its use. A society that continuously adapts based on social commentary.
- Example: A group of rebels repeatedly tries and fails to infiltrate a fortress. Each failure provides crucial “feedback” (new surveillance routes, guard patterns, weaknesses) that they meticulously record and integrate, leading to their eventual success.
- “Mediator”: Use an intermediate object or process; combine one object with another temporarily.
- Writing Application: A third-party character who brings conflicting parties together. A symbolic object that represents an abstract concept between two characters. A temporary alliance.
- Example: Two sworn enemies need to achieve a shared goal (e.g., retrieving a MacGuffin). They don’t cooperate directly, but a “mediator” — perhaps an ancient prophecy or a shared, neutral magical artifact — dictates specific, interleaved actions they must perform, forcing them to indirectly progress towards the same outcome.
- Self-Service: Make an object perform service functions itself.
- Writing Application: A self-healing character. A self-organizing magical realm. A plot that resolves itself through internal logic rather than external intervention.
- Example: A character, haunted by personal demons, doesn’t seek external therapy but rather discovers a hidden strength or a self-devised ritual (e.g., writing poetry, constructing intricate models) that provides internal catharsis and healing.
- Copying: Use simple and inexpensive copies instead of complex, expensive, or fragile objects.
- Writing Application: A character creates a compelling illusion rather than a true magical effect. A prophecy with multiple, ambiguous interpretations. Rumors that spread, becoming a distorted “copy” of the truth.
- Example: Instead of creating a genuine magical artifact that must be protected, the protagonist disseminates multiple perfectly crafted replicas, each subtly different, to confuse the enemy and create a diversion.
- “Cheap Disposable”: Use a series of low-cost objects in place of one expensive one.
- Writing Application: Instead of one powerful magic spell, use a series of minor, cumulative enchantments. A continuous stream of minor obstacles rather than one grand challenge. Disposable supporting characters for a specific task.
- Example: An antagonist doesn’t send out one powerful assassin, but a constant stream of low-level, easily disposable minions, exhausting the protagonist’s resources and resolve through sheer, relentless attrition.
- Replacement of Mechanical System: Use optical, acoustic, thermal, or electrical fields etc.
- Writing Application: Instead of direct physical conflict, use psychological warfare, a battle of wits, or a conflict over information control. Magic system based on sound, light, or emotional resonance.
- Example: A spy thriller where the main conflict isn’t physical combat but a high-stakes psychological game of bluff and counter-bluff, fought entirely through coded messages and carefully crafted misinformation.
- Pneumatic or Hydraulic Structures: Use gases or liquids; use inflated or filled objects.
- Writing Application: A world where societal structure is based on the flow of information or the manipulation of emotions. A character whose power stems from their ability to influence crowds or moods.
- Example: A society where status is determined by one’s ability to manipulate “emotional currents” – unseen, flowing energies that influence collective sentiment, rather than overt political power.
- Flexible Shells and Thin Films: Use flexible shells and thin films instead of solid structures.
- Writing Application: A character who appears weak but is incredibly resilient. A plot that seems straightforward but has many subtle, flexible interpretations. A magical barrier that isn’t rigid but permeable in specific ways.
- Example: A character’s “armor” isn’t steel, but a flexible, almost invisible energy field that subtly adapts to impacts, absorbing kinetic energy and re-distributing it, making them surprisingly resistant to blows.
- Porous Materials: Create or use porous materials.
- Writing Application: A secret organization that is seemingly impenetrable but has many hidden entry points. A character who appears closed off but is secretly vulnerable and open to influence.
- Example: A seemingly impregnable fortress is designed with porous, hidden passages and sections that can be flooded or drained, allowing for discreet infiltration or escape, making it appear solid but inherently fluid.
- Changing the Color: Change the color of an object or its surroundings.
- Writing Application: Use color symbolism to deepen meaning. A character’s aura changing with their mood. A setting that visually transforms to reflect plot progression.
- Example: As a character delves deeper into a corrupted labyrinth, the colors of the stone and air subtly shift from natural hues to unsettling purples, sickly greens, and oppressive reds, reflecting the escalating peril and internal corruption.
- Homogeneity: Make objects of the same material or with similar properties.
- Writing Application: A society where everyone looks or acts the same. A magic system where all spells draw from the same source. A recurring motif that highlights unexpected similarities between characters.
- Example: To survive in a chameleon-like alien ecosystem, the protagonist must create tools and even clothing indistinguishable from the alien environment itself, blurring the lines between self and surroundings.
- Discarding and Recovering: Discard parts of an object if they no longer serve a purpose, and recover parts that have become useful again.
- Writing Application: A character loses a limb or a memory, only to regain it (or a metaphorical equivalent) later. A plot thread is seemingly dropped, only to re-emerge with new significance.
- Example: A protagonist, forced to abandon a crucial piece of technology early in their journey – believing it lost forever – later stumbles upon its core component, allowing them to rebuild it in a new, more powerful form.
- Parameter Changes: Change the physical or chemical state of an object (e.g., from liquid to gas), its concentration, density, temperature, flexibility.
- Writing Application: A character’s emotional state shifts dramatically, impacting their abilities. A magical substance changes its form to serve different purposes. A setting fluctuates between extreme conditions.
- Example: A character’s magical ability is tied to their emotional state. When calm, they can exert precise, subtle control. But in moments of intense emotion (fear, rage), their magic becomes raw, unpredictable, and devastating.
- Phase Transitions: Use phenomena occurring during phase transitions (e.g., melting, boiling).
- Writing Application: A society undergoes a complete societal collapse and then rebuilds anew (like a phase transition). A character’s personality “melts” under pressure, revealing their true nature. A plot that escalates to a boiling point.
- Example: A character, initially rigid and unyielding in their convictions, goes through a “melting” point of profound trauma, shedding their old identity and solidifying into a completely new, fundamentally changed individual.
- Thermal Expansion: Use the expansion/contraction of materials with temperature change.
- Writing Application: A plot that expands under pressure and contracts in moments of calm reflection. A character’s influence growing or shrinking based on their emotional reach.
- Example: A character’s emotional vulnerability expands during moments of intense intimacy, drawing others closer, but contracts sharply into a protective shell when threatened, pushing people away.
- Strong Oxidants: Use enriched air oxygen, ozone, etc. to intensify a process.
- Writing Application: Introduce an element that dramatically accelerates the plot or a character’s development. A catalyst that brings opposing forces to
- Example: The introduction of a mysterious, highly addictive substance doesn’t just grant temporary power but rapidly oxidizes the user’s essence, accelerating their abilities and their eventual demise, forcing a swift conclusion.
- Inert Atmosphere: Replace a normal environment with an inert one.
- Writing Application: A setting where emotions are suppressed. A character who exists in a state of emotional detachment. A plot where the environment offers no assistance or resistance, forcing characters to rely solely on themselves.
- Example: A space colony designed to eliminate all emotional stimuli, creating an “inert atmosphere” where characters struggle to feel or express, leading to a deep exploration of the necessity of emotion.
- Composite Materials: Use composite materials with new properties.
- Writing Application: A character who embodies a fusion of contradictory traits. A magical system that combines elements from various sources. A narrative that blends genres in a novel way.
- Example: A protagonist who is both a highly skilled scientific inventor and a deeply attuned empath, using their understanding of human emotion to design and implement groundbreaking technological solutions.
The Brainstorming Session: Applying the Principles
Once you have your target principles, it’s time to brainstorm. Don’t limit yourself to literal interpretations; think metaphorically and creatively. Use each principle as a springboard.
Actionable Steps:
- Select Your Principles: From the Contradiction Matrix, choose the 2-4 most promising inventive principles.
- Dedicated Exploration: For each principle, dedicate a specific brainstorming slot (e.g., 10-15 minutes).
- “How might I… by applying [Principle]?” Frame your brainstorming session with this question.
- Example Problem: “How to make my terrifying villain (improving ‘Harmful Factors’) more relatable and complex (worsening ‘Ease of Operation’)?”
- Matrix Suggestion: Principles like Asymmetry (4), Preliminary Anti-Action (9), and The Other Way Around (13).
- Brainstorming by Principle (Example):
- Applying Principle 4: Asymmetry (Villain Example)
- “How might I make my terrifying villain more relatable by introducing asymmetry?”
- Ideas: Give him a deeply empathetic but irrational obsession. Make him physically intimidating but secretly possess a childlike fear of a specific, mundane object. Have him commit horrific acts but show him doting on a pet or a vulnerable family member. He’s ruthlessly logical in his plans but falls apart emotionally with unpredictable triggers.
- Resulting Idea: The villain is a brilliant, ruthless strategist who orchestrates mass chaos, but is cripplingly afraid of small, enclosed spaces, a phobia stemming from a traumatic childhood event that reveals a hidden vulnerability.
- Applying Principle 9: Preliminary Anti-Action (Villain Example)
- “How might I make my terrifying villain more relatable by using preliminary anti-action?”
- Ideas: He builds an escape route for his victims before enacting his plan, not out of kindness, but to prolong their terror. He plants false clues that lead to his own past trauma, knowing they’ll be discovered, making him seem human. He intentionally allows small acts of defiance from his subordinates, making them think they have agency before crushing it.
- Resulting Idea: Prior to unleashing his destructive plot, the villain meticulously creates and anonymously sends out survival kits to selected potential victims, providing them with just enough resources to prolong their struggle against his impending catastrophe, fueled by a twisted desire to witness maximum despair.
- Applying Principle 13: “The Other Way Around” (Villain Example)
- “How might I make my terrifying villain more relatable by turning something the other way around?”
- Ideas: Instead of the villain hunting the hero, the hero’s actions inadvertently create the villain. The villain isn’t motivated by evil, but by a misguided, perverted sense of justice. He causes suffering to save something even worse from happening.
- Resulting Idea: The villain isn’t targeting the city to destroy it, but to save it from a deeper, unseen cosmic horror that he alone perceives, and his terrifying actions are simply the necessary, inverted means to a righteous, if brutal, end. He’s the hidden protector, acting like a destroyer.
- Applying Principle 4: Asymmetry (Villain Example)
- Synthesize and Refine: Review the generated ideas. Often, combining elements from different principles can lead to truly innovative solutions. The power of TRIZ isn’t just in the individual ideas but in the fertile ground it creates for synergy.
Overcoming Obstacles with TRIZ: Beyond Plot
TRIZ isn’t confined to grand narrative problems. It’s equally potent for tackling granular issues or even your writing process itself.
Examples for Different Writing Challenges:
- Writer’s Block (Contradiction: I want to write quickly (Speed) but my ideas feel stale (Loss of Information/Originality)).
- Principles suggested: Segmentation (divide the problem), The Other Way Around (reverse your approach), Parameter Changes (change your writing environment).
- Brainstorming ideas:
- Segmentation: Instead of writing a whole chapter, commit to writing just one scene, or even just one paragraph, focusing on a single character’s emotion.
- The Other Way Around: Instead of trying to come up with new ideas, write a terrible, cliché version of your scene first, then invert the clichés. Write from the perspective of an inanimate object.
- Parameter Changes: Write in a completely different genre for 30 minutes. Change your writing tool (pen and paper instead of keyboard). Write in a truly uncomfortable or unusual location.
- Flat Dialogue (Contradiction: I want dialogue to be realistic (Reliability) but also drive the plot (Functionality).)
- Principles suggested: Local Quality (different types of dialogue), Universal Action (dialogue serves multiple purposes), Skipping (omit unnecessary dialogue).
- Brainstorming ideas:
- Local Quality: Introduce specific character tics or non-verbal cues that convey meaning. Have one character speak in riddles, another only in clipped sentences.
- Universal Action: A single line of dialogue simultaneously reveals character, foreshadows a future event, and provides a crucial clue.
- Skipping: Don’t write the full conversation. Skip directly to the key revelation or decision, implying the preceding discussion. Show the emotional aftermath of a conversation without detailing the conversation itself.
- Marketing a Niche Story (Contradiction: I want broad appeal (Universality) but maintain niche integrity (Homogeneity/Reliability)).
- Principles suggested: Merging (combine marketing channels), Copying (leverage existing successful niches), Preliminary Action (pre-build community).
- Brainstorming ideas:
- Merging: Market your niche fantasy novel by discussing its psychological elements on therapy forums, and its world-building on fantasy forums. Combine a traditional book launch with an interactive online game based on your world.
- Copying: Find successful niche communities that might slightly overlap with yours (e.g., historical reenactors for historical fiction, scientific accuracy communities for hard sci-fi) and adapt your marketing to their language and interests.
- Preliminary Action: Start building a community of interested readers before the book is even finished, through blogs, social media, or early access chapters, creating an appetite for the finished product.
The TRIZ Mindset: A Continuous Practice
Applying TRIZ to brainstorming isn’t a one-off trick; it’s a fundamental shift in how you approach problem-solving. It cultivates a mindset that actively seeks out contradictions, rather than being paralyzed by them. It encourages you to think systematically, to leverage proven patterns of innovation, and to look beyond the obvious.
Embrace TRIZ not as a rigid rulebook, but as a sophisticated compass for your creative journey. You’ll find that the more you practice identifying contradictions and applying these inventive principles, the more intuitive and powerful your brainstorming sessions will become. Your ideas will be bolder, your solutions more elegant, and your writing, without a doubt, more compelling and original.